This is an interesting record. But then Kenny Werner always makes interesting records. This is his eighth for the Half Note label. As a pianist-composer, he might not figure on many people's top ten favourite lists, but he always writes interesting tunes and chooses interesting musicians to work with (he's recently toured with the great tenor saxophonist David Sánchez), who always seem very happy to work with him. This is a particularly good band, which started out as a Kenny Werner Quintet, but after rehearsals started quickly became a Coalition. Miguel Zenón, as always, eats up the diverse music, which includes four contrasting originals including the calypso-ish ‘Tune 4’ by Werner and one of Zenón's own most challenging (‘Phonetics #2 (Folk Dance)’). The remaining title is by the quite astonishingly good Benin-born Lionel Loueke, who handles guitar and bass in the group. His lengthy ‘Flying’ is the killer track, complete with vocal electronics and a great melody. Of Werner's tunes, the 12-minute ‘Swan Song’ is a largely out-of-tempo ballad, which elicits poignant solos all round, while the closing ‘Wishful Dreaming’ is an exciting exercise in 3/4 playing. Denmark's Koppel, perhaps most striking on mezzo-soprano sax, interacts beautifully with Zenón and Hungarian drummer Nemeth is excellent throughout, with strong percussion work on ‘Phonetics’. As stated, an interesting record! - Tony Hall / jazzwise.com
Kenny Werner suggests that Coalition be the name of this bass-less quintet as well as the title of their debut, and the often-roiling alliance of cultures at play here fortifies the moniker on both counts. In the liner notes, he says he built the group around Beninese guitarist Lionel Loueke and Puerto Rican alto saxophonist Miguel Zenón—the musicians “I most wanted to learn from.” Ample leeway is given to both. Zenón’s antic, funky “Phonetics #2 (Folk Dance)” leads off, with handclaps surging into one of the saxophonist’s patented slippery-quick rhythmic excursions. Loueke’s “Flying” is more than twice the length of his duet rendition with Esperanza Spalding on his 2010 record Mwaliko, largely due to the guitarist making like Ladysmith Black Mambazo with his multitracked vocals before a succession of audacious jazz-rock solos, highlighted by Zenón and then Werner on electric piano.
Werner’s leadership is subtly exerted. The other four compositions are his and, as fans might expect, include a ballad to swoon for (“Swan Song”) and a sophisticated but zesty Afro-Latin vehicle (“Tune 4”). Werner anchors the former with a lengthy, barely accompanied rumination on acoustic piano. On the latter, he fills the seams while Danish saxophonist Benjamin Koppel quotes “St. Thomas” during his mezzo-soprano solo and Hungarian drummer Ferenc Nemeth roams his kit with glee.
Coalition provides the latest evidence that there is no typical Kenny Werner project. The pianist-composer-improviser keeps veering forward in directions that challenge his listeners and himself. The consistent quality of his outings rewards remaining hot on his trail. - Britt Robson
At this stage of his career, it would be easy for Kenny Werner to settle into a comfortable routine. But the pianist-composer is too curious and restless for that. That much is obvious throughout this wonderful record with an international roster of musicians.
Although nominally the leader, it’s clear that Werner chose musicians who would expand his palette by bringing their own inherent sensibilities to the fore. It’s immediately apparent on the opening track, “Phonetics #2 (Folk Dance),” which begins with handclaps and Beninese guitarist/singer Lionel Loueke’s vocalizations. Miguel Zenón, who composed this piece, contributes slinky phrases on alto saxophone on top of a funky, polyrhythmic Caribbean groove that reflects his native Puerto Rico.
A focus on rhythm pervades most of these six pieces. Loueke’s sharp-edged guitar phrases and popping, tongue-clicking vocals, Zenón’s staccato figures, and Werner’s accents on piano and keyboards all have a percussive quality. Loueke contributes “Flying,” which spotlights his overdubbed vocals and highly rhythmic guitar work before segueing into an African-influenced jazz-funk workout that includes a Fender Rhodes solo by Werner.
Even the four Werner originals reflect the influence of his bandmates. The hard-driving “April Blue” and “Tune 4” each exhibit clear Afro-Caribbean roots. The exception, and the most typically Werner-esque piece, is the ballad “Swan Song,” highlighted by a dreamy melody, lush harmonies and Werner’s exquisite unaccompanied solo passage.
Through it all, Hungarian drummer Ferenc Nemeth — a frequent Loueke collaborator — finds the right balance between power and finesse. Danish saxophonist Benjamin Koppel contributes fine work on alto, mezzo-soprano and baritone.
That Werner is still exploring new sounds is a testament to his commitment to keep his art fresh and vibrant. That he’s able to execute such an internationally flavored collection so authentically is even more impressive. — John Frederick Moore
Kenny Werner is a world-class pianist and composer. His prolific output of compositions, recordings and publications continue to impact audiences around the world.
Kenny was recently awarded the 2010 Guggenheim Fellowship Award for his seminal work, No Beginning No End. No Beginning No End is a musical journey exploring tragedy and loss, death and transition, and the path from one lifetime to the next. Utilizing over 70 musicians, Kenny’s third album for Half Note Records is an expansive composition featuring Joe Lovano, Judy Silvano, Wind Ensemble, Choir and String Quartet.
Born in Brooklyn, NY on November 19, 1951 and then growing up in Oceanside, Long Island, Kenny began playing and performing at a young age, first recording on television at the age of 11. Although he studied classical piano as a child, he enjoyed playing anything he heard on the radio. In high school and his first years of college he attended the Manhattan School of Music as a classical piano major.
His natural instinct for improvisation led Kenny to the Berklee School of Music in 1970. There he sought tutelage of the renowned piano teacher Madame Chaloff. A Her gracious wisdom and inspiration became a driving force in Kenny’s conception: A music conscious of its spiritual intent and essence.
From Boston, Kenny traveled to Brazil with the saxophonist Victor Assis Brasil. There he met Victor’s twin brother, Brazilian pianist Joao Assis Brasil. He studied with Joao, who provided another piece of the puzzle for Kenny’s conception that would lead to Effortless Mastery, his landmark opus on how to allow the master musician from within to manifest. The Book was published in 1996. It recently became available as an ebook on kindle and in Ibooks.
Kenny started his own trio in 1981 with drummer Tom Rainey and bassist Ratzo Harris. The Kenny Werner Trio matured for fourteen years, wowing audiences in America and Europe and recording four albums along the way.
Kenny has written many original compositions featuring trios and other small group configurations, but in the mid 1980’s, he became the pianist for the Mel Lewis Orchestra (currently known as the Village Vanguard Orchestra). Challenged by Mel and Bob Brookmeyer to write for the band, he produced his first compositions and arrangements for jazz orchestra, consequently leading him to write for the major bands in Europe including the Cologne, Danish, and Stockholm Jazz Orchestras, The Umo Jazz Orchestra of Finland and several times as the guest composer and soloist with the Metropole Orchestra of Holland. He’s release two CDs with the Brussels Jazz Orchestra. One released in 2011 is called “Institute Of Higher Learning.” Werner has had many commissions to write for large ensembles such as jazz orchestras, full orchestras and most recently, wind ensemble, choir and string quartet as featured on his latest CD, No Beginning, No End. He continues to release Cds . A new solo cd and new Quintet Cd is set for release in 2012.
Several outstanding musical partnerships began in the 1990’s. Kenny continues to play duo with Toots Thielemans, the legendary harmonica player. For twenty years he has played with and arranged for Betty Buckley, a Broadway legend. They made six albums together and she has sung his arrangements for small band and orchestras across the globe. He also has had a nearly forty-year friendship and musical collaboration with Joe Lovano. They have recorded on a number of each other’s projects.
In 2000, Kenny formed a new trio with Ari Hoenig on drums and Johannes Weidenmueller on bass. They played nearly a decade together and released three albums, with Kenny acting as composer, arranger, and pianist. Their last album, Peace – Live at the Blue Note, released in 2004, began a wonderful relationship with Half Note Records, the recording arm of the Blue Note Jazz Club. He created three CDs before the release of his masterpiece, No Beginning No End. In 2007, Kenny Werner released his first album for Blue Note Records.Lawn Chair Society, featuring Chris Potter, Dave Douglas, Scott Colley, and Brian Blade, received critical acclaim for its fusion of electro and acoustic elements. For several years now he has also toured with his quintet featuring David Sanchez on sax, the legendary trumpet player Randy Brecker, Antonio Sanchez on drums and Scott Colley on bass. There recent release on Half Note is titled “Balloons.”
Quincy Jones has said of Kenny, “Perfection, 360 degrees of soul and science in one human being. My kind of musician.”
Kenny groundbreaking work on Improvisation, Effortless Mastery – Liberating the Master Musician Within, was published in 1996.Using his life experiences as a microscope into the artist’s mind, Effortless Mastery is a guide to distill the emotional, spiritual, and psychological aspects of an artists life. Today it is one of the most widely read books on music and improvisation, helping thousands of musicians around the world unlock their talent and potential.The book is required reading at many universities. Werner, without intention, touched off a revolution of inspiring musicians to do inner work on the mind, body, and soul in attempt to upgrade their musical experience from the mundane to the profound. The book is also popular with artists of other mediums and business professionals. Kenny continues to teach and give clinics in the United States and abroad. He is currently an Artist-in-Residence at New York University.
Kenny Werner’s influence is unsurpassed. He has impacted an entire generation of musicians and artists. Despite his creative output, Kenny is still focused on the music.”I am still more and more aware of the true purpose of the music and the people who play it: to heal and unite the planet. / from http://kennywerner.com
Tracks
01. Phonetics #2 (Folk Dance) (Zenon)
02. April Blue (Werner)
03. Flying (Loueke)
04. Swan Song (Werner)
05. Tune 4 (Werner)
06. Wishful Dreaming (Werner)
KENNY WERNER piano, electric piano
MIGUEL ZENÓN alto saxophone
BENJAMIN KOPPEL alto saxophone, soprano saxophone, baritone saxophone
LIONEL LOUEKE guitar, vocals
FERENC NEMETH drums
Half Note Records – 4558